Weed, Whites, And Wine

I’m “Willin’” to admit that Little Feat’s “Sailin’ Shoes” just might be my favorite album of all time.

I’ve written elsewhere about the life changing moment I received “Looney Toons And Merrie Melodies” (1970), a Warner’s Loss Leader’s 3 record set I sent away for.
“Strawberry Flats” was the third song on side one, after Faces “Had Me A Real Good Time”, and Black Sabbath’s “Paranoid”, and before Fleetwood Mac’s “Tell me All The Things You Do” from “Kiln House”.
I liked the other songs, and I bought all those albums too, but “Strawberry Flats” stood out. So many ideas packed into a little over 2 minutes.

I didn’t know what a record store was. All I knew was the local Target equivalent. They didn’t have “Little Feat”, so I settled for “Sailin’ Shoes” with it’s bizzarre cover art.
From the chiming opener, “Easy To Slip” I liked it. A lot.

I’ve come to recognize it as a perfect encapsulation of it’s time and place. Southern California in the early ’70′s. I hear elements of Country Rock, CSNY, The Eagles, Flying Burrito Brothers, Warren Zevon, Captain Beefheart, and of course, The Mother’s Of Invention.

I’m on my third vinyl copy and have the cd.

This compilation is a tribute to Lowell George, founder and guiding light. He was a tremendously gifted guitar player, singer, songwriter, producer, and bandleader. It recreates the order I first heard them. “Strawberry Flats” followed by “Sailin’ Shoes” in it’s entirety, and then highlights from “Little Feat” and “Dixie Chicken”.

Lowell George met Bill Payne when he was a member of Frank Zappa’s Mothers of Invention.
Payne auditioned for the Mothers, but didn’t join. They formed Little Feat along with former Mothers bassist Roy Estrada and drummer Richie Hayward from George’s previous band, The Factory. Hayward had also been a member of the Fraternity of Man whose claim to fame was the inclusion of their “Don’t Bogart Me” on the million-selling Easy Rider film soundtrack.
The name Little Feat came from a comment made by Mothers’ drummer Jimmy Carl Black (The Indian of the group) about Lowell’s “little feet”. The spelling of “feat” was an homage to the Beatles.

There are three stories about the genesis of Little Feat.
One has it that George showed Zappa his song “Willin’,” and that Zappa fired him because he was too talented to be a sideman, and he should form his own band.
The second version has Zappa firing him for playing a 15-minute guitar solo with his amplifier off. The third version says he was fired because “Willin’” contains drug references.
On October 18, 1975 at the Auditorium Theater in Rochester New York while introducing the song, George commented that he was asked to leave the band for “writing a song about dope”.

In any version, Zappa was instrumental in getting George and his new band a contract with Warner Bros. Records. The eponymous first album delivered to Warner Bros. was recorded mostly in August and September 1970, and was released in January 1971. When it came time to record “Willin’,” George had hurt his hand in an accident with a model airplane, so Ry Cooder sat in and played the song’s slide part.
“Willin’” was re-recorded for “Sailin’ Shoes”, this time with guest Burrito “Sneaky Pete” on pedal steel. It’s the the first Little Feat album to feature cover art by Neon Park, the artist responsible for Zappa’s “Weasels Ripped My Flesh” (On which Lowell is a member of The Mothers).

Despite good reviews, lack of success led to the band splitting up, with Estrada leaving to join Captain Beefheart’s Magic Band (And even more lack of success).

In 1972 Little Feat reformed, with bassist Kenny Gradney replacing Estrada. Also added was second guitarist Paul Barrere, a friend of Lowell’s from Hollywood High, and percussionist Sam Clayton (brother of session singer Merry Clayton). As a result the band was expanded from a quartet to a sextet.

I was so excited when “Dixie Chicken” came out, until I played it. They had 3 new people in the band and it tilted towards New Orleans, and lite funk, which was not what I was looking for.
However, the title is a classic and “Fat Man In The Bathtub” is one of their finest moments.
I didn’t hate the album.
Then came “Feats Don’t Fail Me Now”. Another Neon Parks cover, and a reworking of two songs from “Sailin” Shoes” played as a medley. Which I now understand was made to better reflect their live shows at the time, for which they were getting quite a reputation, but to my ears was a travesty.
I didn’t buy any more of their albums after that.

George continued to produce the albums, but his songwriting contribution diminished as the group moved into jazz fusion, a style in which he had little interest. In August 1977, Little Feat recorded a live album from gigs at the Rainbow Theatre in London and Lisner Auditorium in Washington, DC. “Waiting for Columbus” is considered by many to be one of the best live albums of all time, despite the fact that significant portions of George’s vocals and slide work were over-dubbed later in the studio. It was released in 1978, by which time it had become apparent that Lowell George’s interest in the band was waning, as was his health.

In an interview with Bill Flanagan (for the book Written in My Soul) conducted eleven days before his death, George made it clear that he felt the demise of Little Feat was due to his having allowed the band to be run democratically, with the result that Payne and, to a lesser extent, Barrere, had a presence as songwriters and in production which was disproportionate to their abilities.

Nowhere on the wikipedia page I reworked for some of this does it mention that Lowell’s drug use was a contributing factor to his abdication of leadership in the band. Or that Zappa fired him for smoking dope.

His only solo album, “Thanks, I’ll Eat It Here” (1979) is mostly covers. I’ve never heard it.

Too bad there isn’t more of this.

Link In Comments

The Curse Of The Mekons

The Mekons should be better known. They are so much more interesting than Radiohead, or Oasis, for instance.

They were briefly signed by A&M, and released one great album, “The Mekons Rock ‘n’ Roll” in 1989, but the fit was poor, and they were soon back to indie purgatory.
Their next, “Curse Of The Mekons”, which is even better, didn’t even see a US release initially.

I used to gauge a new record store by how many Kevin Ayers albums they had. Then I’d check for Roy Harper and Lee “Scratch” Perry. A quick indication of the depth of their catalog.
In the early ’90′s I added The Mekons to the list. Their cd’s were pretty hard to find, but over the years I managed to collect a baker’s dozen. This compilation covers from 1987-2002.

Formed in 1977 by a group of Leeds University art students: John Langford, Kevin Lycett, Mark White, Andy Corrigan, and Tom Greenhalgh (Gang Of Four and Delta 5 came out of the same group of students). I just now found out that they took the name from the Mekon, an evil, super-intelligent Venusian featured in the British 1950-1960′s comic Dan Dare.

The band’s first single was “Never been In A Riot”, a satirical take on The Clash’s “White Riot”.
They’re debut album, “The Quality Of Mercy Is Not Strnen”, was recorded using the Gang Of Four’s instruments, and due to an error by the Virgin Records art department, features pictures of that band, instead of The Mekons on the back cover.

Through the years, the band’s musical style has evolved, incorporating country, folk, rock, and occasional experiments in dub. These days, The Mekons are often described as a post-punk, cowpunk and/or alt country band.

The Mekons
Jon Langford
Tom Greenhalgh
Sally Timms
Sara Corina
Steve Goulding (The Rumour)
Susie Honeyman
Rico Bell
Lu Edmonds (The Damned)
J. Mitch Flacko

Past members
Ben Mandelson
Dick Taylor (original Rolling Stone and Pretty Thing)
John Langley
Kevin Lycett
Mary Jenner
Robert Worby

Mekons Mekons Mekons

Enjoy!
-BBJ

I highly recommend the terrific documentary, “The Revenge Of The Mekons”

Mekons Mekons Mekons

Jazz For Haters

“I’ve got no kick against modern jazz,
Unless they try and play it too darn fast,
And lose the beauty of the melody”

-Chuck Berry nailed it in 1957

This collection is for people who don’t think they like Jazz. I’m one of them, after all, because I think a great deal of it is boring. Too many notes going nowhere as fast as they can. Where is the tune?

Shane Theriot hails from New Orleans and is currently guitarist and musical director for “Live At Daryl’s House”. His “Sanford and Son” (2000) seemed like the perfect place to start.
“Jungle” (1995) by Jef Lee Johnson is one of several tracks featuring vocals. Purchased as a cut-out from Sal back in the day. The rest of the album, “Blue” is just as good. Unfortunately he passed away at 54 in 2013.
“Elephant Walk” (2009) by Israeli guitarist OZ Noy is the funkiest and loosest of grooves in the best possible way.
“Kimotion” (2001) Composed and conducted by guitarist Kimo Williams is pure exhiliration.
You’re excused for thinking “You Can’t Sing, You Can’t Dance” (2013) by Serbian guitarist Dusan Jevtovic is Hard Rock. More like mid-period King Crimson than standard Jazz. One of the baddest songs I know.
“Pineapples & Ashtrays” (2015) is best described as “Surf Noir”. Led by Saxman Bryan Beninghove, the Hangmen are an incredible live act. Highly reccomended
James “Blood” Ulmer got his start with Ornette Coleman but really made a splash in the early ’80′s with his angular idiosyncratic guitar style. “Black Rock” (1982) somehow manages to sound like both Captain Beefheart and James Brown.
“Sacred Emblems” (2014) is more Surf than Jazz. From “Psychomagia”, the second album by Abraxas, led by Shanir Exra Blumenkranz, performing compositions by John Zorn.
“Keep The Bugs Off Your Glass And The Bears Off Your Ass” (2003) The Bad Plus. They’ve been called a “jazz power trio with a rock n roll heart.” The melody is as much fun as the title.
Singer, musician, songwriter, producer Cassandra Wilson’s take on “The Last Train To Clarksville” (1995) is one of my all-time favorite covers.
Bill Frisell, an incredibly versatile guitarist contributes the only ballad. A lovely rendition of Bob Dylan’s “Just Like A Woman”(1992)
“Footsteps”(2012) by The Fretless Brothers truly unique exploration of microtonal guitars and tunings makes this track wonderfully disorienting.
“Storm The Reality Asylum” (1982) features the vocals of a very young Neneh Cherry with her stepdad Don sitting in on trumpet.
“Silent Land” (1981) Material, formed by Bill Laswell in 1978, went on to become an integral part of, and define the post No Wave downtown Jazz scene.
“Breathe” (2014) from a Big Band reinterpration of the Pink Floyd classic, “Dark Side Of the Moon”.
“Tobago Tango” (1986) Art Ensemble Of Chicago were the first Jazz band I really loved, Probably because they annoyed many Jazz fans by playing music that seemed like anti-Jazz. This is their most accessible moment.
“Come As You Are” (2003) Pink Freud. From Poland. Nirvana cover.

Jazz For Haters

Enjoy!
-BBJ

Acid Washed Weekend

I didn’t buy a copy of the original double lp”Nuggets” as compiled by Lenny Kaye in 1972.
I never really sought this stuff out before getting Bowie’s “Pinups” in 1973. At first I preferred his versions because the sound was so much better. I thought the Kink’s original “Where Have All The Goodtimes Gone?” sounded weak and thin by comparison. On the other hand, Syd’s “See Emily Play” had something that Bowie’s did not.

Neither of those are here, however.

Only “Lies”, “Open My Eyes”, and “Farmer John” appeared on the original 1972 “Nuggets”.
The rest are from the much expanded Rhino versions, and a few from various other sources.
I included the best, and most obscure songs I know, while mostly avoiding the usual suspects.
While I’m sure some of this is familiar territory, I hope it’s the surprises that really get you.

Enjoy your trip!

-BBJ

Acid Washed Weekend

The Road To Ruined

I approach singer/songwriters with caution. It can be a rabbit hole of disfunction with boring musical accompaniment. Mix that with Jazz and I really worry.
Maybe because John Martyn’s “Solid Air” is both, and works so beautifully is why it’s been one of my very favorite albums for over 40 years.
It was the first record I played on my first real stereo system, which I bought by working as a busboy at a Marie Callender’s in 1974.
When I was putting this together, I couldn’t bring myself to interupt it’s flow, so tracks 7-15 are 1973′s “Solid Air”. The first six come from “The Tumbler” (1968), “Stormbringer!”(1970)*, “The Road To Ruin”(1970)*, “Bless The Weather”(1971), and the last eight are mostly from “Sunday’s Child”(1975), with the final song taken from “One World”(1977).
He was an incredible guitar player, fantastic singer, and songwriter.

But he had no shortage of demons. I hear many of his love songs as heartfelt apologies for bad behavior.
That’s why they ring so true.

In the ’80′s he morphed from underground folk artist into adult contemporary soft jazz blandness.
And then proceeded to gain about 300 lbs.

I’d Rather Be The Devil

Here Comes The SUN

If Elvis is Jesus then Sam Phillips is GOD. I’ve read Peter Guralnick’s terrific two volume biography of Elvis, as well as “Lost Highway: Journeys and Arrivals of American Musicians”, so I look forward to his latest, “Sam Phillips: The Man Who Invented Rock N Roll”.

All the songs on this collection come from the accompanying 2 CD set curated by the author.
I don’t have a single argument with his selections. These are my favorites sequenced by me.
Everybody should stop off in Memphis on their way to New Orleans. When I had to pick one or the other I chose Nashville, and I don’t regret it, but next time will be Memphis.
In the ’80′s I had a friend working in a record store who routinely sold me fancy imports at her employee discount. I discovered SUN through Charly Records, and their top-shelf reissues. They all look and sound great. I still have a lot of them including a 9 record set of SUN Blues.

I dug the brief post- punk Rockabilly revival of 1980 (culminating with “Crazy Little Thing Called Love), and even formed a band with a childhood buddy which went on without me to get a record deal and everything(Jimmy And The Mustangs).

I know all these songs like I wrote and played them myself and you should too.
The music speaks for itself. Regardless of the weather have a SUNny weekend!

Here Comes The Sun

A Saucerful Of Tears

Five guys, one bike.

Pink Floyd’s sophomore effort could very well be the worst of all time. Syd Barrett, their guiding light, and principal songwriter, became the goose that laid the golden eggs, and infamously flamed out, leaving them at the apex and in the middle of recording. I don’t think it was just acid, or insanity. I think forming a band was fun, but it suddenly becoming a vocation, and pop stardom stopped being so. He really wanted to be a painter, and he was a pretty good one from what I’ve seen.

Anyway the rest of the band found themselves in quite the pickle with an album begun and no songs. The title track can only be described as a composition, as it’s not a song or even music,really, except for the last section by Richard Wright, which I’ve used as a long intro to “See Saw”. My band, The Smoove Sailors write more interesting “jams” every week than the title tune.

I’ve been thinking about fixing A Saucerful Of Secrets for a long time. It was the unlistenable half of A Nice Pair, and just as bad as Ummagumma (The best part of which is the picture of all the gear on the back). A Saucerful of Tears is almost long enough to be a double album. Like if the White album lost “Revolution 9″ and “Goodnight”, which I would never miss.

It’s the most democratic Floyd album as it features at least four songwriters and five singers.

I’ve compiled all the Syd Barrett songs recorded after their debut, Piper At The Gates Of Dawn, including the still unreleased “Vegetable Man”, and “Scream Thy Last Scream”, plus a couple singles with David Gilmour from the same period, but not on the album.

“Set The Controls For The Heart Of The Sun” is not my favorite, but is the only one involving all five members. “A Jolly Bunch of Pop Tunes” Syd might say.

I think it plays rather well, and because it’s all from the same period, could have been released this way. Enjoy!

Rehearsing for “The Wall”

 

A Saucerful Of Tears

There and Back Again

Going (Down The Road Feeling) Good

Here is a mix of quirky, atmospheric, and mostly upbeat instrumentals for barreling down the highway and enjoying the open road.

And get home safe

http://www34.zippyshare.com/v/99593151/file.html

Foglizard

 
 
 
 
 
(our only cover)

The “Hits”, Instrumentals, and “B sides”

This couch came with the space where a lot of this material was recorded. It didn’t fit there.

You are forgiven for not knowing Foglizard. While we never played a live show, all the recordings featured here were performed live in the studio in one or two takes. The only overdubs were vocals added later. This is raw Rock N Roll of the highest order.

We began in 1999 as Friends Of Harry, named after my cat (now deceased). We were an improvisational electro-acoustic ensemble with only two rules: No blues, and no drums. We’d all been in plenty of rock bands and were determined not to go there until late 2002, when our bass player, Sharky Tao Mao, booked a nonexistent band named Chariot! to perform as Cheap Trick at Uncle Joe’s (local dive, now demolished) annual Halloween bash. We didn’t learn any Cheap Trick songs except the chorus to “Dream Police” which we tacked onto our signature song, “Chariot”. We wrote 6 originals over two weeks while preparing for the show, but we didn’t really have a singer or lyrics yet. Our songs were instrumentals with minimal words and nonsense syllables.
We had such a good time that Chariot! became a lot more than a side project. D-Lux, a founding Friends Of Harry member, was on an extended vacation in Ecuador while all of this went down and returned to find out he was our new singer. We recorded a self titled album, available here, and played a handful of gigs. D-Lux left town shortly after. For awhile he continued to add lyrics and vocals from a distance, but it soon became clear that we needed a singer who lived in town. Instead of finding one we began to write and record the vocals ourselves with occasional guests.
We realized that there was already too many “Chariots”, so we changed our name to Foglizard. Run a search, we’re at the top of the list.
One thing we learned from our Chariot! experience was that we got really tired of rehearsing our set. We usually ran it as a 45 minute suite with no spaces between songs. It was hard to introduce new material that way. Sharkey was at the point of mutiny.
As a result, Foglizard never rehearsed a set. Every time we came into the studio we’d lay down a new track, usually in one or two takes. At a later session we’d write the lyrics and overdub vocals. The Instrumental disc is mostly material we never got around to “finishing”.
About half the time I’d bring something I was working on into the session. I did this because Beast(baritone guitar, vocals), Q(drums, vocals), and Sharky(bass, vocals) are much better musicians than me, and it was my way of holding down my end. It’s from being self taught, since I didn’t know how to play anything, I make stuff up. Beast, on the other hand, is a Berklee grad who can play the shit out of his guitar, and as far as I can tell, pretty much anything I’ve seen him pick up. Q is rock solid in every way, and Sharkey is the perpetual wild card. He’s always solving problems in unexpected ways.
I’m Buzz Baby Jesus, the other guitar and occasional vocalist.

In 2008, Q began his journey into domesticity and as we saw less of him, Sharkey, Beast, and me developed a side project, The Smoove Sailor’s. When Q announced his retirement in 2010, it became our primary focus. However, we all left the door open and manage to get together as Foglizard about once a year to find out we still “have it”.
In addition to the original players, The Smoove Sailor’s have added several more members, and occasionally play live, but we don’t like rehearsing a set any more than we used to. We split our time between improvisation and the usual “two take wonders” a la Foglizard.

Useless Records is proud to release what I’ve compiled as the “best of” Foglizard on 3 cd’s. Disc one is the “Hits”, disc two are Instrumentals, and disc three is the “Boner” disc of “B” sides and songs that narrowly missed inclusion on disc one.

Here’s a video of “Von Douche”, which has over 14,000 hits thanks in part to it’s link to “Hot Chicks With Douchebags”. It’s the rare case where I sing verses I wrote, and whistle a “solo”.

Disc One Vox
Disc Two Instrumental
Disc Three Boner

Jamaican Holiday Extended

 
(Israelites)
 
(Sugar,Sugar)

Sometimes it takes two.




The “Scratch” side.


Because it’s hot as hell and one “Jamaican Holiday” isn’t enough.

Volume 2